Hong Kong

Mitico Pilots Community-Based Livestreaming at World of Dance Hong Kong

A Hong Kong pilot explores how creator-led distribution could reshape livestreaming for global competitions

Updated

April 8, 2026 5:28 PM

A dance crew performs in sync on stage at World of Dance under spotlights. PHOTO: WORLD OF DANCE HONG KONG

On January 22, 2026, World of Dance Hong Kong became the first global event to pilot Mitico’s community-based livestreaming model. The idea is simple: rethink how live competitions are shared in a digital-first world.

Instead of relying on a single official broadcast, the event was produced as one centralised live feed. It was then distributed across multiple creators and influencers, each hosting the stream for their own audience.

This gave creators room to add their own commentary, adapt the language and bring in cultural context that suited their communities, while the production remained consistent behind the scenes.  

“Dance is a universal language”, said David Gonzalez, President of World of Dance. “Our collaboration with Mitico to produce an international, creator-led livestream in Hong Kong allowed a regional competition to reach a global audience. With personalised commentary from hosts in different languages, we can begin to see how regional events may connect through global communities”. This approach points to a shift away from traditional broadcaster-led distribution and toward creator-led amplification.

A dance crew performs on stage as the audience watches. PHOTO: WORLD OF DANCE HONG KONG

Mitico’s approach begins with a familiar industry challenge: the high cost of production and licensing, which often makes it difficult to livestream cultural and sports events at scale.  

“Many cultural and sports competitions are never livestreamed because traditional broadcasting is too costly and complex”, said Chengcheng Li, Founder of Mitico. “By distributing a centralised production feed through creators and community hosts, regional events can reach global audiences while maintaining a unified production workflow”.

World of Dance (WOD) offered a natural test environment. It started as a global dance competition platform before entering a television partnership with NBC, which later produced four seasons of the World of Dance reality series. While the television programme concluded in 2021, the competition business has continued to expand through an international network of partners. Today, World of Dance competitions are represented in more than 72 countries, producing nearly 100 events each year, with a digital audience of more than 34 million followers across platforms

Despite that scale, many competitions are not livestreamed due to the high production costs and technical demands associated with traditional broadcasting. The Hong Kong event was selected to assess whether a community-led distribution model could offer a more scalable alternative for live coverage.

While no changes to World of Dance’s broader distribution strategy have been announced, the Hong Kong pilot offers an early indication of how global competitions may rethink livestreaming in an increasingly creator-driven media environment.

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Deep Tech

From Industrial Frames to Personal Gear: The Rise of Portable Wearable Robotics

CES 2026 and the move toward wearable robots you don’t wear all day.

Updated

January 28, 2026 5:53 PM

The π6 exoskeleton from VIGX. PHOTO: VIGX

CES 2026 highlighted how robotics is taking many different forms. VIGX, a wearable robotics company, used the event to introduce the π6, a portable exoskeleton robot designed to be carried and worn only when needed. Unveiled in Las Vegas, the device reflects a broader shift at CES toward robotics that move with people rather than staying fixed in industrial or clinical settings.

Exoskeletons have existed for years, most commonly in controlled environments such as factories, rehabilitation facilities and specialised research settings. In these contexts, they have tended to be large, fixed systems intended for long sessions of supervised use rather than something a person could deploy on their own.

Against that backdrop, the π6 explores a more personal and flexible approach to assistance. Instead of treating an exoskeleton as permanent equipment, it is designed to be something users carry with them and wear only when a task or situation calls for extra support.

The π6 weighs 1.9 kilograms and folds down to a size that fits into a bag. When worn, it sits around the waist and legs, providing mechanical assistance during activities such as walking, climbing or extended movement. Rather than altering how people move, the system adds controlled rotational force at key joints to reduce physical strain over time.

According to the company, the device delivers up to 800 watts of peak power and 16 Nm of rotational force. In practical terms, this means the system is designed to help users sustain effort for longer periods, especially during physically demanding activities_ by easing the body's load rather than pushing it beyond normal limits.

The π6 is designed to support users weighing between 45 kilograms and 120 kilograms and is intended for intermittent use. This reinforces its role as a wearable companion — something taken out when needed and set aside when not — rather than a device meant to be worn continuously.

Another aspect of the system is how it responds to different environments. Using onboard sensors and processing, the exoskeleton can detect changes such as slopes or uneven ground and adjust the level of assistance accordingly. This reduces the need for manual adjustments and helps maintain a consistent walking experience across varied terrain, with software fine-tuning how assistance is applied rather than directing movement itself.

The hardware design follows a similar logic. The power belt contains a detachable battery, allowing users to remove or swap it without handling the entire system. This keeps the wearable components lighter and makes the exoskeleton easier to transport. The battery can also be used as a general power source for small electronic devices, adding a layer of practicality beyond the exoskeleton’s core function.

VIGX frames its work around accessibility rather than industrial automation. “To empower ordinary people,” said founder Bob Yu, explaining why the company chose to focus on exoskeleton robotics. “VIGX is dedicated to expanding the physical limits of humans, enabling deeper outdoor adventures, making running and cycling easier and more enjoyable and allowing people to sustain their outdoor pursuits regardless of age.”

Placed within the wider context of CES, the π6 sits alongside a growing number of portable robots and wearable systems that prioritise convenience, mobility and personal use. By reducing the physical and practical barriers to wearing an exoskeleton, VIGX is testing whether assistive robotics can move beyond niche environments and into everyday life. If that experiment succeeds, wearable robots may become less about dramatic augmentation and more about quiet support — present when needed and easy to put away when not.